would be remade 33 years later by DeMille in 1956, also in color by Technicolor. Also in 1923, Prizma was used to film the 1923 version of Vanity Fair. The third feature to be filmed entirely in color by Technicolor was Wanderer of the Wasteland, today a lost film, released in 1924. It was advertised as being filmed in 100% Natural Color. Technicolor made many more silent films in color through the years, but in 1929, the first talking picture to use a color (Technicolor) sequence was The Broadway Melody. The color hues of that sequence are lost; the sequence only survives in black-and-white television prints from the 1950s. That year, Warner Bros. made the first all color-all talking movie, On with the Show, which also only survives in black and white, with only a small fragment of surviving color, found in 2005. Later in 1929, the first color talking movies were being made, such as Paris (Warner Bros.), Rio Rita (RKO, first RKO color movie, color sequenced), Sally (Warner Bros., third all-color, all-talking feature), Gold Diggers of Broadway (Warner Bros., second all-color, all-talking feature), The Hollywood Revue (MGM's second musical, after The Broadway Melody) and many more. Most of the color talking movies made in 1929 mostly survive in 1950s black-and-white television copies or with color sequences cut. In 1929, Technicolor was so busy filming color movies that the Warner Bros. musical revue The Show of Shows (1929), which was originally going to be filmed in full color, had to be filmed only mostly in color, with 21 minutes in black and white, a seventeen-minute section of part one and a four-minute opening of part two. While most companies used Technicolor, William Fox, owner of Fox Movie Corporation, used Multicolor. 1930s Color movies released in 1930 included The Life of the Party (Warner Bros.), Under a Texas Moon (Warner Bros.), Children of Pleasure (MGM), Chasing Rainbows (MGM), Show Girl in Hollywood (Warner Bros., one of Al Jolson's first color appearances), Viennese Nights (Warner Bros.), Hit the Deck (RKO Radio Pictures), and Leathernecking (RKO), The Cuckoos (RKO). Like 1929, the original color negatives for many movies of the year are considered lost and only survive in black-and-white due to the studios wanting more space in their film vaults so they threw away the films and aired them on black-and-white television before, but some color movies from this time have been